Wednesday, July 27, 2011
Organ Tuning
On July 5, 2011, after the close of my organ grant time frame, I was able to observe while Karen and Leo from Bunn=Minnick tuned the pipe organ at Tabernacle Christian Church in Franklin, IN. I appreciated that they remembered my interest and contacted me to be there for the tuning. It was interesting to see this phase after learning at the organ builders. Leo sat patiently playing notes as requested. Karen twisted and squeezed into all the areas of the pipe chamber to check and adjust every single pipe. It was more time-consuming, pains-taking, and by ear than I had expected. Thank you Bunn=Minnick.
Sunday, December 12, 2010
Sunday, November 28, 2010
First Report to Lilly Foundation
Lilly Endowment 2010 Teacher Creativity Fellowship Grant Report
Music to My Ears
Esther Kovacs
My grant proposal encompassed learning about pipe organ technology by visiting pipe organ builders, taking keyboard lessons to enhance my skills, and listening to the nuances of different pipe organs being played. I was able to fulfill all three areas of my proposal. I was surprised at my excitement to get started immediately upon learning of the award. The very first Sunday following my notification, I began by visiting a local church to hear the pipe organ there. This led to hearing pipe organs in a dozen Indiana churches along with pipe organs in other states to total 43 different pipe organs between March 7, 2010 and July 25, 2010. Beyond the outstanding instruments and organists, I was able to experience the subtle differences in worship in half a dozen denominations outside my own lifetime of worship in Baptist and Lutheran Churches.
I gained a basic understanding of pipe organ construction by visiting three organ builders and studying reference books and on-line material. The visits shed light on ways each builder views their craft. One builder solely refurbishes existing organs, while the other two build new organs and also do restorative work.
Basic pipe construction is similar with tuning apparatuses being completed in a like manner by all. Surprisingly, to me, the voicing of the pipes begins in the builder’s workshop by a single person using his well-trained ear to hear the pitches so perfectly that he is able to tune and voice each pipe individually. The organs are completely constructed in the workshop and tested. The organ is then disassembled and transported to its new home where it is reassembled, re-voiced to the space and environment, and tuned. One builder walked me through the process of working with church music committees. This work includes educating them to the enhancement of worship emanating from the warmth created by a pipe organ, acoustical considerations in the sanctuary, and decisions for organ voices, organ building, organ shipping, and assembly. My next step is to accompany a technician into a church to observe the installation, repair, or tuning phase of the pipe organ. This likely will happen during the next eight month period as much tuning and repair work is done to church organs in preparation for Christmas and Easter.
I took organ lessons from a local Indianapolis organist. Playing the pipe organ in her large church requires a huge adjustment from playing my small electronic organ at home. The power of the voices and volume are something I had forgotten over the years. She continues to be very patient with me as I improve my abilities logging over 40 hours of practice during the time period. I was able to shadow her while she played various services as well. Yet my keyboard skills have not returned easily or fully. A major step forward for me has been learning to play the organ pedals correctly with specially designed organist shoes.
The American Guild of Organists (AGO) holds a biennial convention and this year’s 50th national convention was held in Washington D.C. July 4-8. Though it was quite costly to join the AGO and pay the convention fees, this allowed me access to eleven pipe organ venues in six days. It was a breathtaking experience to be in the Washington National Cathedral and sing hymns with over two thousand musically-minded people. Having been in this cathedral for several worship services previously, including Easter, I knew the magnificence of the structure and even the power of being in a large group for worship. But to have so many people with musical knowledge joining together in song brought tears to my eyes. This was truly music to my ears and to my soul. The words of the AGO chaplain, Rev. Dr. Thomas H. Troeger, will stay with me forever. “Every time you make music, you are calling people back to the better spirits of their nature.”
Many venues for the convention concerts, allowed a view of the organist either by placing the console in full view of everyone or by providing a video feed of the organist. Along with the American organists, I heard performances by an organist from France and one from Germany. Bringing together so many incredibly gifted organists at the AGO convention for high caliber performances was almost overwhelming. For example, one organist is so talented that he not only played with two hands, two feet, and from memory, he changed organ stops constantly – just because he can think of so much at once. Another organist had a note that became stuck, known as a cipher. She worked with the church organist, got it fixed, apologized to the packed house, and completed her amazing recital unfazed.
The Louisiana trip provided two listening experiences including a concert by the Titular Organist of the Cathedral of Seville, Spain. In Jasper, IN, and in Allentown, PA, I was able to experience a different style of accompaniment for congregational worship, leading me to incorporate new ideas into my technique and style. In Phoenix, AZ, I heard two outstanding accompanists at worship services. I learned about the two dozen volunteers who gave every Saturday for five years to clean, refurbish, assemble, voice, and tune an organ for their church. An organist in Columbus, IN is so passionate about the pipe organ he plays and maintains, that it was hard to get away once he began talking about this beloved instrument.
I was amazed at how many people willingly shared with me, without time constraint, the instruments they love and the knowledge they possess. Through this grant, I have formed friendships that will continue to provide me with future experiences. Upon learning of my grant, people suggested many additional instruments that I did not have the time or resources to visit. The trip to Philadelphia to see the largest pipe organ in use in the United States grew out of one of these suggestions. That experience was extremely enlightening. I learned about the pipe organ, toured the multiple pipe chambers, and visited the organ refurbishing facility housed above a Macy’s store. I was astounded to learn about the full-time paid staff and troupe of dedicated volunteers who keep this organ in top working condition. This greatly expanded my concept of how many people appreciate the pipe organ.
A question I asked of the many professionals I met regarded the future for the pipe organ, especially considering the increase in non-traditional music in worship. The answer from organists and builders is clear. The rich, full sounds of the pipes are universally loved, assuring the future of pipe organs. It was gratifying to learn that properly designed and constructed pipe organs and their various parts can last for hundreds of years with proper care. Having heard the vast number of talented musicians in Washington, D.C., my view of the pipe organist as a dying breed has changed. While only a few universities maintain prestigious organ performance schools, many others teach organ technique as a course offering. Many of these non-organ majors will be sitting on the benches made by today’s organ builders.
As a new member of the American Guild of Organists I plan to attend the Indianapolis chapter meetings to learn more about the pipe organ and hear additional concerts by talented musicians. Hopefully I will be able to experience pipe organ repair and tuning first-hand. Now that I have begun improving my keyboard skills, I will continue to practice both on my piano and my small electronic organ. Within myself I feel the joy of producing music and the reward of improvement as I continue to work. This rekindling of skills helps me relate to my students who require much repetition to acquire new academic skills. With the words of the AGO Chaplain resounding in my head, I will utilize music in my classroom to bring my students “back to the better spirits of their nature.”
Music to My Ears
Esther Kovacs
My grant proposal encompassed learning about pipe organ technology by visiting pipe organ builders, taking keyboard lessons to enhance my skills, and listening to the nuances of different pipe organs being played. I was able to fulfill all three areas of my proposal. I was surprised at my excitement to get started immediately upon learning of the award. The very first Sunday following my notification, I began by visiting a local church to hear the pipe organ there. This led to hearing pipe organs in a dozen Indiana churches along with pipe organs in other states to total 43 different pipe organs between March 7, 2010 and July 25, 2010. Beyond the outstanding instruments and organists, I was able to experience the subtle differences in worship in half a dozen denominations outside my own lifetime of worship in Baptist and Lutheran Churches.
I gained a basic understanding of pipe organ construction by visiting three organ builders and studying reference books and on-line material. The visits shed light on ways each builder views their craft. One builder solely refurbishes existing organs, while the other two build new organs and also do restorative work.
Basic pipe construction is similar with tuning apparatuses being completed in a like manner by all. Surprisingly, to me, the voicing of the pipes begins in the builder’s workshop by a single person using his well-trained ear to hear the pitches so perfectly that he is able to tune and voice each pipe individually. The organs are completely constructed in the workshop and tested. The organ is then disassembled and transported to its new home where it is reassembled, re-voiced to the space and environment, and tuned. One builder walked me through the process of working with church music committees. This work includes educating them to the enhancement of worship emanating from the warmth created by a pipe organ, acoustical considerations in the sanctuary, and decisions for organ voices, organ building, organ shipping, and assembly. My next step is to accompany a technician into a church to observe the installation, repair, or tuning phase of the pipe organ. This likely will happen during the next eight month period as much tuning and repair work is done to church organs in preparation for Christmas and Easter.
I took organ lessons from a local Indianapolis organist. Playing the pipe organ in her large church requires a huge adjustment from playing my small electronic organ at home. The power of the voices and volume are something I had forgotten over the years. She continues to be very patient with me as I improve my abilities logging over 40 hours of practice during the time period. I was able to shadow her while she played various services as well. Yet my keyboard skills have not returned easily or fully. A major step forward for me has been learning to play the organ pedals correctly with specially designed organist shoes.
The American Guild of Organists (AGO) holds a biennial convention and this year’s 50th national convention was held in Washington D.C. July 4-8. Though it was quite costly to join the AGO and pay the convention fees, this allowed me access to eleven pipe organ venues in six days. It was a breathtaking experience to be in the Washington National Cathedral and sing hymns with over two thousand musically-minded people. Having been in this cathedral for several worship services previously, including Easter, I knew the magnificence of the structure and even the power of being in a large group for worship. But to have so many people with musical knowledge joining together in song brought tears to my eyes. This was truly music to my ears and to my soul. The words of the AGO chaplain, Rev. Dr. Thomas H. Troeger, will stay with me forever. “Every time you make music, you are calling people back to the better spirits of their nature.”
Many venues for the convention concerts, allowed a view of the organist either by placing the console in full view of everyone or by providing a video feed of the organist. Along with the American organists, I heard performances by an organist from France and one from Germany. Bringing together so many incredibly gifted organists at the AGO convention for high caliber performances was almost overwhelming. For example, one organist is so talented that he not only played with two hands, two feet, and from memory, he changed organ stops constantly – just because he can think of so much at once. Another organist had a note that became stuck, known as a cipher. She worked with the church organist, got it fixed, apologized to the packed house, and completed her amazing recital unfazed.
The Louisiana trip provided two listening experiences including a concert by the Titular Organist of the Cathedral of Seville, Spain. In Jasper, IN, and in Allentown, PA, I was able to experience a different style of accompaniment for congregational worship, leading me to incorporate new ideas into my technique and style. In Phoenix, AZ, I heard two outstanding accompanists at worship services. I learned about the two dozen volunteers who gave every Saturday for five years to clean, refurbish, assemble, voice, and tune an organ for their church. An organist in Columbus, IN is so passionate about the pipe organ he plays and maintains, that it was hard to get away once he began talking about this beloved instrument.
I was amazed at how many people willingly shared with me, without time constraint, the instruments they love and the knowledge they possess. Through this grant, I have formed friendships that will continue to provide me with future experiences. Upon learning of my grant, people suggested many additional instruments that I did not have the time or resources to visit. The trip to Philadelphia to see the largest pipe organ in use in the United States grew out of one of these suggestions. That experience was extremely enlightening. I learned about the pipe organ, toured the multiple pipe chambers, and visited the organ refurbishing facility housed above a Macy’s store. I was astounded to learn about the full-time paid staff and troupe of dedicated volunteers who keep this organ in top working condition. This greatly expanded my concept of how many people appreciate the pipe organ.
A question I asked of the many professionals I met regarded the future for the pipe organ, especially considering the increase in non-traditional music in worship. The answer from organists and builders is clear. The rich, full sounds of the pipes are universally loved, assuring the future of pipe organs. It was gratifying to learn that properly designed and constructed pipe organs and their various parts can last for hundreds of years with proper care. Having heard the vast number of talented musicians in Washington, D.C., my view of the pipe organist as a dying breed has changed. While only a few universities maintain prestigious organ performance schools, many others teach organ technique as a course offering. Many of these non-organ majors will be sitting on the benches made by today’s organ builders.
As a new member of the American Guild of Organists I plan to attend the Indianapolis chapter meetings to learn more about the pipe organ and hear additional concerts by talented musicians. Hopefully I will be able to experience pipe organ repair and tuning first-hand. Now that I have begun improving my keyboard skills, I will continue to practice both on my piano and my small electronic organ. Within myself I feel the joy of producing music and the reward of improvement as I continue to work. This rekindling of skills helps me relate to my students who require much repetition to acquire new academic skills. With the words of the AGO Chaplain resounding in my head, I will utilize music in my classroom to bring my students “back to the better spirits of their nature.”
Sunday, July 18, 2010
American Guild of Organists Convention, Washington D.C., July 2010
Saturday
I arrived in Washington D.C. and attended one of the Bach series concerts at Grace Episcopal Church, Georgetown. The tracker organ was built by David Moore. The chairs in the sanctuary had been turned around to view the balcony where the organ console resides. The organist, Professor Roland Stangier from Essen, Germany, played wonderful runs and trills. He used a lot of the mixtures and 2/3 combinations. Professor Stangier did not address the gathering leading to the belief that he is not proficient in English. Professor Stangier was given music for improvisation thirty minutes before the concert. He did a very long interpretation moving from somber to lively and back. Excellent. This concert was not part of the AGO convention.
Sunday
I attended mass at St. Thomas Apostle Catholic Church, Washington D.C. The sanctuary is basically a square with the Kilgen organ in the back balcony. The organist's postlude was the music given out to the AGO attenders on Saturday. Great idea to incorporate this into 4th of July worship knowing some AGO people would be at church. He realized those of us who remained for the entire postlude were most likely AGO attendees.
Monday
The Opening Convocation for the AGO Convention was held at the National Episcopal Cathedral, Washington D.C. It was goose-bump-causing to sing hymns with over 2000 musically minded people. The AGO chaplain, Rev. Dr. Thomas H. Troeger, addressed the group and one thing he said was, “Everytime you make music, you are calling people back to the better spirits of their nature.”
Next I heard Dr. Paul Jacobs play the Orgues Letourneau organ at St. Ann’s Catholic Church. He is amazingly gifted using both hands and both feet, no music, and constantly changing stops. The unmanned camera broadcast on the screen at the front of the church allowing us to watch Dr. Jacobs work.
The second concert of the morning was at St. Columba’s Episcopal Church with Dr. Kimberly Marshall playing the Flentrop Orgelbouw tracker organ. She used music with the church music director turning pages for her. I could not see her feet, but later was told that she often plays in heels. Her selections were from a 500 year span all written for rulers. I needed to have a better understanding of music history and world history to appreciate her combination of choices.
Following the afternoon workshops I attended Bach Vespers at St. Paul’s Lutheran. The service was in German with accompaniment by the Washington Bach Consort including old instruments. Scott Dettra, National Cathedral Organist, accompanied the Bach group as well as playing the Schantz organ for congregational singing.
The final event for Monday, July 5th, was the opening concert again at the National Episcopal Cathedral. Scott Dettra, along with the National Gallery Orchestra, played Samuel Barber’s Toccata Festiva. This cathedral has been a long-standing favorite of mine and the two events increased my enjoyment and fond memories. Hearing Scott play again after the trip to Ohio in April was wonderful.
Tuesday
Being early for my first concert of the day, I stopped to hear part of the handbell prelude at the National City Christian Church on Thomas Circle. Beautiful.
Diane Belcher played wonderfully at the Church of the Ascension and St. Agnes Episcopal. The Orgues Letourneau console was in the balcony with no video feed. Toward the end she had a cipher, got it fixed, apologized, and finished apparently unfazed. Now that's professional.
St. John’s Episcopal Church was the venue for Jean-Baptiste Robin to play the Lively-Fulcher organ along with Elizabeth Blakeslee on the harp for the beginning and ending numbers. Mr. Robin played the middle two selections solo without music. The second solo piece was one Mr. Robin had written himself. The final harp and organ work was commissioned for this AGO Convention. Mr. Robin used the 32' pedal extensively. Due to my seating in the balcony, I not only had an excellent view of him, but also reaped all the benefits of the bass notes housed next to my seat.
The evening took me to Annapolis to attend the concert at the Naval Academy Chapel. The playlist was very diverse with Bach next to theater music. Dr. David Higgs played a lovely rendition of “What A Friend We Have In Jesus.” He only used music for the piece commissioned for the event. There was great applause for Marianne Webb who established an endowment to fund concerts at the biennial AGO Conventions. This was the first of the concerts.
Wednesday
I attended Faythe Freese’s concert at Foundry United Methodist Church. She used music with two helpers, one on each side, to turn pages. She wore a very dressy dress with very practical organ shoes. Having only recently learned to play with shoes at all, I appreciated her attire. She was in nice view at the front of the church. My very back-of-the-balcony seat allowed a wonderful view.
My last concert was Isabelle Demers at St. Patrick Roman Catholic Church. She did an outstanding job, as they all did. She was in the balcony with no video feed. Her mother was in the audience.
Attending the AGO Convention was extreme immersion for me with all the concerts. The organists are unbelievably gifted and I enjoyed hearing their gift of music thoroughly.
I arrived in Washington D.C. and attended one of the Bach series concerts at Grace Episcopal Church, Georgetown. The tracker organ was built by David Moore. The chairs in the sanctuary had been turned around to view the balcony where the organ console resides. The organist, Professor Roland Stangier from Essen, Germany, played wonderful runs and trills. He used a lot of the mixtures and 2/3 combinations. Professor Stangier did not address the gathering leading to the belief that he is not proficient in English. Professor Stangier was given music for improvisation thirty minutes before the concert. He did a very long interpretation moving from somber to lively and back. Excellent. This concert was not part of the AGO convention.
Sunday
I attended mass at St. Thomas Apostle Catholic Church, Washington D.C. The sanctuary is basically a square with the Kilgen organ in the back balcony. The organist's postlude was the music given out to the AGO attenders on Saturday. Great idea to incorporate this into 4th of July worship knowing some AGO people would be at church. He realized those of us who remained for the entire postlude were most likely AGO attendees.
Monday
The Opening Convocation for the AGO Convention was held at the National Episcopal Cathedral, Washington D.C. It was goose-bump-causing to sing hymns with over 2000 musically minded people. The AGO chaplain, Rev. Dr. Thomas H. Troeger, addressed the group and one thing he said was, “Everytime you make music, you are calling people back to the better spirits of their nature.”
Next I heard Dr. Paul Jacobs play the Orgues Letourneau organ at St. Ann’s Catholic Church. He is amazingly gifted using both hands and both feet, no music, and constantly changing stops. The unmanned camera broadcast on the screen at the front of the church allowing us to watch Dr. Jacobs work.
The second concert of the morning was at St. Columba’s Episcopal Church with Dr. Kimberly Marshall playing the Flentrop Orgelbouw tracker organ. She used music with the church music director turning pages for her. I could not see her feet, but later was told that she often plays in heels. Her selections were from a 500 year span all written for rulers. I needed to have a better understanding of music history and world history to appreciate her combination of choices.
Following the afternoon workshops I attended Bach Vespers at St. Paul’s Lutheran. The service was in German with accompaniment by the Washington Bach Consort including old instruments. Scott Dettra, National Cathedral Organist, accompanied the Bach group as well as playing the Schantz organ for congregational singing.
The final event for Monday, July 5th, was the opening concert again at the National Episcopal Cathedral. Scott Dettra, along with the National Gallery Orchestra, played Samuel Barber’s Toccata Festiva. This cathedral has been a long-standing favorite of mine and the two events increased my enjoyment and fond memories. Hearing Scott play again after the trip to Ohio in April was wonderful.
Tuesday
Being early for my first concert of the day, I stopped to hear part of the handbell prelude at the National City Christian Church on Thomas Circle. Beautiful.
Diane Belcher played wonderfully at the Church of the Ascension and St. Agnes Episcopal. The Orgues Letourneau console was in the balcony with no video feed. Toward the end she had a cipher, got it fixed, apologized, and finished apparently unfazed. Now that's professional.
St. John’s Episcopal Church was the venue for Jean-Baptiste Robin to play the Lively-Fulcher organ along with Elizabeth Blakeslee on the harp for the beginning and ending numbers. Mr. Robin played the middle two selections solo without music. The second solo piece was one Mr. Robin had written himself. The final harp and organ work was commissioned for this AGO Convention. Mr. Robin used the 32' pedal extensively. Due to my seating in the balcony, I not only had an excellent view of him, but also reaped all the benefits of the bass notes housed next to my seat.
The evening took me to Annapolis to attend the concert at the Naval Academy Chapel. The playlist was very diverse with Bach next to theater music. Dr. David Higgs played a lovely rendition of “What A Friend We Have In Jesus.” He only used music for the piece commissioned for the event. There was great applause for Marianne Webb who established an endowment to fund concerts at the biennial AGO Conventions. This was the first of the concerts.
Wednesday
I attended Faythe Freese’s concert at Foundry United Methodist Church. She used music with two helpers, one on each side, to turn pages. She wore a very dressy dress with very practical organ shoes. Having only recently learned to play with shoes at all, I appreciated her attire. She was in nice view at the front of the church. My very back-of-the-balcony seat allowed a wonderful view.
My last concert was Isabelle Demers at St. Patrick Roman Catholic Church. She did an outstanding job, as they all did. She was in the balcony with no video feed. Her mother was in the audience.
Attending the AGO Convention was extreme immersion for me with all the concerts. The organists are unbelievably gifted and I enjoyed hearing their gift of music thoroughly.
Friday, June 25, 2010
Phoenix, AZ pipe organs
The trip to Phoenix allowed me to hear 8 pipe organs and view, but not hear, 5 more. Don Morse at Central United Methodist Church was extremely helpful with sharing his instruments and his knowledge of area organs. Don educates churches contemplating purchasing a pipe organ and suggests visits for them to hear the qualities of specific organs in person. He then helps the church determine the best organ builder to contact. I used the list he sent me before my trip to choose which Sunday worship services to attend.
Organ Stop Pizza is a fun dinner/listening spot. Charlie Balogh is so gifted on that organ playing everything from memory - no music. That amazes me!
Worship at Pinnacle Presbyterian with both my daughters was lovely in many ways. The tracker organ is huge and the architecture of the building is magnificent. Dr. Avram delivered a notable sermon.
Dennis Hart at Faith Lutheran was generous with his time explaining the process the church went through from purchasing a used organ from Ohio University to the completion of the project. What an incredible journey the members of the church went through over a five year period to enhance their worship.
Linda Bennett at Arizona State gave me a tour of Organ Hall.
Erik Goldstrum at Trinity Episcopal shared all the features of his church's Schantz Organ.
The final pipe organ I heard on the Phoenix trip was the Visser-Rowland at All Saints Episcopal Church.
The five organs I saw but did not hear were the three in Organ Hall at ASU and two in the Musical Instrument Museum that are displayed but not yet heard. Each thing I explore leads to another. The pipe organ commissioned for the MIM was built by an Indiana builder. Sounds like a trip to Spiceland, IN is in my future.
Organ Stop Pizza is a fun dinner/listening spot. Charlie Balogh is so gifted on that organ playing everything from memory - no music. That amazes me!
Worship at Pinnacle Presbyterian with both my daughters was lovely in many ways. The tracker organ is huge and the architecture of the building is magnificent. Dr. Avram delivered a notable sermon.
Dennis Hart at Faith Lutheran was generous with his time explaining the process the church went through from purchasing a used organ from Ohio University to the completion of the project. What an incredible journey the members of the church went through over a five year period to enhance their worship.
Linda Bennett at Arizona State gave me a tour of Organ Hall.
Erik Goldstrum at Trinity Episcopal shared all the features of his church's Schantz Organ.
The final pipe organ I heard on the Phoenix trip was the Visser-Rowland at All Saints Episcopal Church.
The five organs I saw but did not hear were the three in Organ Hall at ASU and two in the Musical Instrument Museum that are displayed but not yet heard. Each thing I explore leads to another. The pipe organ commissioned for the MIM was built by an Indiana builder. Sounds like a trip to Spiceland, IN is in my future.
Friday, June 18, 2010
Personal Listening List
1. Fairview Presbyterian Church, Indianapolis; Schantz Organ
2. *Christ Church Cathedral, Indianapolis; gallery organ; Taylor and Boody
3. Christ Church Cathedral, Indianapolis; continuo - Brombaugh
4. St. Joseph’s Cathedral, Jasper, IN; Holtkamp
5. First United Methodist Church in Columbus, IN; Dr. Lamb; Moller
6. Asbury United Methodist Church in Columbus, IN; Schantz
7. *East 91st Street Christian Church, Indianapolis; Schantz
8. St. Joseph Cathedral in Columbus, Ohio; Fritts
9. First Congregational Church, Columbus, OH; Scott Dettra; Beckerath
10. First Congregational Church, Columbus, OH; Scott Dettra; Kimball
11. St. Paul’s Episcopal, Indianapolis; Casavant-Freres
12. St. Charles Avenue Presbyterian Church, New Orleans; Austin Organ
13. The Cathedral-Basilica of St. Louis King of France, New Orleans; Holtkamp
14. *St. Luke’s United Methodist Church, Indianapolis; Goulding and Wood
15. Wannamaker Organ, Philadelphia, PA; Peter Conte
16. Wurlitzer Organ, Wannamaker Building, Philadelphia, PA
17. Tabernacle Christian Church, Franklin, IN; Bunn=Minnick restoration
18. *Sacred Heart Catholic Church, Indianapolis; Wick
19. *Christ Church Cathedral, Indianapolis; Hellmuth Wolff
20. Broad Street Presbyterian, Columbus, OH; Schantz
21. Wurlitzer, Organ Stop Pizza, Mesa, AZ
22. *Pinnacle Presbyterian Church, Scottsdale, AZ; Richards and Fowkes tracker
23. Faith Lutheran Church, Phoenix, AZ; Moller
24. Trinity Episcopal Cathedral, Phoenix, AZ; Schantz
25. Central United Methodist Church, Phoenix, AZ; Dodson tracker
26. Central United Methodist Church, Phoenix, AZ; Taylor and Boody Baroque tracker
27. Central United Methodist Church, Phoenix, AZ; practice organ is now in the sanctuary while they await their new Glatter-Gotz organ spring ‘13
28. All Saints Episcopal, Phoenix, AZ Visser-Rowland
29. Christ Lutheran Church, Allentown, PA rebuild by Austin
30. *Bethany Lutheran Church, Indianapolis, IN; Holloway
31. Grace Episcopal, Georgetown, D.C.; David Moore Organ
32. St. Thomas Apostle Parish, Washington D.C.; Kilgen
33. *National Cathedral, Washington D.C.; E.M. Skinner
34. St. Ann’s, Washington D.C.; Orgues Letourneau
35. St. Columba’s Episcopal, Washington D.C.; Flentrop Orgelbouw
36. St. Paul’s Lutheran, Washington D.C.; Schantz
37. Church of the Ascension and St. Agnes, Washington D.C.; Orgues Letourneau
38. St. John Episcopal, Washington D.C.; Lively and Fulcher
39. Naval Academy Chapel, Annapolis, MD; Hutchins
40. Foundry United Methodist, Washington D.C.; Casavant Freres
41. St. Patrick Roman Catholic Church, Washington D.C.; Lively-Fulcher
42. Trinity Episcopal Church, Indianapolis; Schantz
43. 2nd Presbyterian Church, Indianapolis; Aeolian Skinner
44. Roberts Park United Methodist Church, Indianapolis; Reuters
45. *St. Thomas Lutheran Church, Bloomington, IN; J.C. Wilson
46. First Baptist Church, Indianapolis, IN; Casavant Freres, Limitee, St. Hyacithe, Province of Quebec, Canada
47. St. Joseph University Parish, Terre Haute, IN
48. Central Presbyterian Church, Terre Haute, IN; Johannes
49. Good Shepherd Lutheran Church, Indianapolis; Goulding and Wood
50. North Christian Church, Columbus, IN; Hotkamp
51. Zaharakos, Columbus, IN; Welte Orchestion
52. *Tabernacle Presbyterian Church, Indianapolis; Casavant Freres, Limitee
53. Christ Church Lutheran, Phoenix, AZ
54. First United Methodist Church, Bloomington, IN Moller
55. Trinity English Lutheran Church, Fort Wayne, IN; Æolian-Skinner in nave
56. Trinity English Lutheran Church, Fort Wayne, IN; Moller in chapel
57. Christ United Methodist Church, Indianapolis; Rodgers
58. Hilbert Theater, home of Indianapolis Symphony; Indianapolis; Wurlitzer
59. North United Methodist Church, Indianapolis; Kimball renovated by Reynolds
60. Auer Hall, Indiana University, Bloomington, IN; C.B.Fisk 2010
HOORAY 60 DIFFERENT PIPE ORGANS IN ONE YEAR!
61. Paradise Valley United Methodist Church, Paradise Valley, AZ; Schlicker
62. Meridian Street United Methodist Church, Indianapolis; Goulding and Wood
63. First United Methodist Church, San Diego, CA; L.W. Blackinton
64. Balboa Park, San Diego, CA; Austin
65. Indiana Landmark Center, Indianapolis; 1892 Thomas Sanborn (one of only two made) updated 2010-2011 by Goulding and Wood, Indianapolis
Saw, but did not hear, 3 organs at ASU Organ Hall and 2 at the MIM (Musical Instrument Museum)
*Heard on more than one visit.
March 1, 2010 - June 12, 2011
2. *Christ Church Cathedral, Indianapolis; gallery organ; Taylor and Boody
3. Christ Church Cathedral, Indianapolis; continuo - Brombaugh
4. St. Joseph’s Cathedral, Jasper, IN; Holtkamp
5. First United Methodist Church in Columbus, IN; Dr. Lamb; Moller
6. Asbury United Methodist Church in Columbus, IN; Schantz
7. *East 91st Street Christian Church, Indianapolis; Schantz
8. St. Joseph Cathedral in Columbus, Ohio; Fritts
9. First Congregational Church, Columbus, OH; Scott Dettra; Beckerath
10. First Congregational Church, Columbus, OH; Scott Dettra; Kimball
11. St. Paul’s Episcopal, Indianapolis; Casavant-Freres
12. St. Charles Avenue Presbyterian Church, New Orleans; Austin Organ
13. The Cathedral-Basilica of St. Louis King of France, New Orleans; Holtkamp
14. *St. Luke’s United Methodist Church, Indianapolis; Goulding and Wood
15. Wannamaker Organ, Philadelphia, PA; Peter Conte
16. Wurlitzer Organ, Wannamaker Building, Philadelphia, PA
17. Tabernacle Christian Church, Franklin, IN; Bunn=Minnick restoration
18. *Sacred Heart Catholic Church, Indianapolis; Wick
19. *Christ Church Cathedral, Indianapolis; Hellmuth Wolff
20. Broad Street Presbyterian, Columbus, OH; Schantz
21. Wurlitzer, Organ Stop Pizza, Mesa, AZ
22. *Pinnacle Presbyterian Church, Scottsdale, AZ; Richards and Fowkes tracker
23. Faith Lutheran Church, Phoenix, AZ; Moller
24. Trinity Episcopal Cathedral, Phoenix, AZ; Schantz
25. Central United Methodist Church, Phoenix, AZ; Dodson tracker
26. Central United Methodist Church, Phoenix, AZ; Taylor and Boody Baroque tracker
27. Central United Methodist Church, Phoenix, AZ; practice organ is now in the sanctuary while they await their new Glatter-Gotz organ spring ‘13
28. All Saints Episcopal, Phoenix, AZ Visser-Rowland
29. Christ Lutheran Church, Allentown, PA rebuild by Austin
30. *Bethany Lutheran Church, Indianapolis, IN; Holloway
31. Grace Episcopal, Georgetown, D.C.; David Moore Organ
32. St. Thomas Apostle Parish, Washington D.C.; Kilgen
33. *National Cathedral, Washington D.C.; E.M. Skinner
34. St. Ann’s, Washington D.C.; Orgues Letourneau
35. St. Columba’s Episcopal, Washington D.C.; Flentrop Orgelbouw
36. St. Paul’s Lutheran, Washington D.C.; Schantz
37. Church of the Ascension and St. Agnes, Washington D.C.; Orgues Letourneau
38. St. John Episcopal, Washington D.C.; Lively and Fulcher
39. Naval Academy Chapel, Annapolis, MD; Hutchins
40. Foundry United Methodist, Washington D.C.; Casavant Freres
41. St. Patrick Roman Catholic Church, Washington D.C.; Lively-Fulcher
42. Trinity Episcopal Church, Indianapolis; Schantz
43. 2nd Presbyterian Church, Indianapolis; Aeolian Skinner
44. Roberts Park United Methodist Church, Indianapolis; Reuters
45. *St. Thomas Lutheran Church, Bloomington, IN; J.C. Wilson
46. First Baptist Church, Indianapolis, IN; Casavant Freres, Limitee, St. Hyacithe, Province of Quebec, Canada
47. St. Joseph University Parish, Terre Haute, IN
48. Central Presbyterian Church, Terre Haute, IN; Johannes
49. Good Shepherd Lutheran Church, Indianapolis; Goulding and Wood
50. North Christian Church, Columbus, IN; Hotkamp
51. Zaharakos, Columbus, IN; Welte Orchestion
52. *Tabernacle Presbyterian Church, Indianapolis; Casavant Freres, Limitee
53. Christ Church Lutheran, Phoenix, AZ
54. First United Methodist Church, Bloomington, IN Moller
55. Trinity English Lutheran Church, Fort Wayne, IN; Æolian-Skinner in nave
56. Trinity English Lutheran Church, Fort Wayne, IN; Moller in chapel
57. Christ United Methodist Church, Indianapolis; Rodgers
58. Hilbert Theater, home of Indianapolis Symphony; Indianapolis; Wurlitzer
59. North United Methodist Church, Indianapolis; Kimball renovated by Reynolds
60. Auer Hall, Indiana University, Bloomington, IN; C.B.Fisk 2010
HOORAY 60 DIFFERENT PIPE ORGANS IN ONE YEAR!
61. Paradise Valley United Methodist Church, Paradise Valley, AZ; Schlicker
62. Meridian Street United Methodist Church, Indianapolis; Goulding and Wood
63. First United Methodist Church, San Diego, CA; L.W. Blackinton
64. Balboa Park, San Diego, CA; Austin
65. Indiana Landmark Center, Indianapolis; 1892 Thomas Sanborn (one of only two made) updated 2010-2011 by Goulding and Wood, Indianapolis
Saw, but did not hear, 3 organs at ASU Organ Hall and 2 at the MIM (Musical Instrument Museum)
*Heard on more than one visit.
March 1, 2010 - June 12, 2011
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